July 20, 2021 • 28 mins
Once more, it's time for a weekly dose of Stuff to Blow Your Mind and Weirdhouse Cinema listener mail...
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Episode Transcript
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Speaker 1 (00:02):
Welcome to Stuff to Blow Your Mind, a production of
My Heart Radio. Hey, welcome to Stuff to Blow your
Mind Listener Mail. My name is Robert Lamb and I'm
Joe McCormick. And if you haven't noticed, there's a bit
of a scheduling reversal this week. That's just one of
the things that happens every now and then these these days.
(00:23):
So I think this is the listener Mail episode that
would normally go in the Monday slot. You're going to
be hearing it on a Tuesday. But but we'll be
back with our regular core episodes on Wednesday and Thursday
of this week. Okay, housekeeping done, Robert, You ready to
jump into the mail bag, Let's do it. Okay, maybe
(00:46):
I should start with this message from Eric about the
artifact on the sugar light. Eric says, good morning, gentlemen.
Here I am to bug you again. Eric, I can't
remember what you bugged us about in the past, but
I'll take your word for it. Eric says, why in movies, cartoons, anime, etcetera,
our radiation and nuclear reactors always portrayed as having a
(01:08):
green glow. Cherenkov radiation typically produces a blue glow. Eric
and that's the whole question. I think this is really
good because when you see, uh see like a radioactive
waste or stuff of the nuclear plan on the Simpsons,
it's always green, right, But if you actually look at
the glow emanating from say the water, the cooling water
around a nuclear reactor, there is a glow, but it
(01:31):
is blue. It's that blue Cherenkov light. But I do
think I have a good guess about where the green
glow thing comes from. And this actually I think briefly
came up in our episodes about halo imagery, unless I'm mistaken,
but but this is my best guess. I think it
is probably based on the history of radio luminescent paint.
(01:52):
Uh So, in the early twentieth century you had these
famous paints like un Dark was the trade name of
one of them, but there were a number of radio
minescent paints. Undark was made by the US Radium Corporation,
and radioluminescent paint had to have a few ingredients to work.
One was a radioactive element, typically radium, and then there
would also be a chemical in the paint called a phosphour,
(02:14):
which means a chemical that glows in the presence of radiation,
so the radium irradiates the phosphour and then the phosphour
emits light in response. And I think specifically in the
undark paint, they use zinc sulfide as the phosphour along
with a bit of copper content, which I believe helped
give the light a green color. So I'm not sure,
(02:36):
but my best guess is that popular consciousness of green
glowing radium paint turned into a natural association between ionizing
radiation and the color green. M though I can't help
but wonder if another, at least small factor in this
is the the idea and some cultures, particularly some European cultures,
(02:57):
that green was the color of of like the fairy
folk of people from beyond. If you know, a potent, supernatural,
otherworldly uh color to have about your person. Oh yeah yeah.
Going way back to our episode about Jenny green teeth,
it reminds me of that old like superstition we read
about it. There there was some like catalog of folk
(03:17):
tales from old from the British Isles, and one of
them was about a like a mother in law telling
the daughter in law never to wear a green dress
because it would draw the ire of the fairies, and
I have to say, even today, and if you were
to see somebody wearing all bright green walking down the street,
I mean it would. It would catch your attention. You
might you might wonder what was going on there. You
(03:37):
might wonder if you're about to get pinched. Yeah, all right,
here's another one. This one comes to us from d
Hi there. I was both horrified and amused to realize
whilst listening to your recent podcast The Waiting, but no
mention was made of England smiley face. Instead, we were
(03:59):
subjected to a hole one minute and twenty two seconds
of waiting in line during the French Revolution shutters smiley
face here in Blighty, which I am told means England queuing,
as it is properly called, is rightly considered a national pastime.
As George Mike's rightly observed quote in Englishman, even if
he is alone, forms an orderly queue of one joking aside,
(04:23):
I have direct experience on this alone at a bus
stop or at the bank, I'll unconsciously orient myself as
if I'm the first in an imperceptible que You can't
possibly complete two episodes on waiting without recourse to mentioning
the religious fervor with which queuing is regarded and beaten
into children from a young age in England. I trust
(04:44):
and expect that this honest oversight is corrected in your
second episode. You're devoted fan from England, d D. I
guess we couldn't read them out loud, but this email
has a higher than average quotient of like asky, winking,
smiley faces and stuff. So I'm assuming you're out as
mad as you claim. Uh. I think he backed this
up with a couple of subsequent emails. But but D
(05:06):
fear not. We shall be covering English queuing in Queuing
Part two. Already have a bunch of stuff about it
in the document for when we record that episode, alright.
This next message comes from Adam. Adam says hello, I
love this episode again referring to queuing, and it made
(05:29):
me think of a bit. In Mark Marrin's most recent
stand up special, in Times Fun, he talks specifically about
how it used to feel to wait in line without
a phone. He describes the emptiness and boredom of eating
a sandwich alone on your lunch break, or just waiting
to take another step forward in line while peeking over
to the side to see what's going on up ahead.
(05:50):
There's a similar compulsion in an elevator, and it feels
like you're the weird one if you don't have your
phone out. Just wondering your thoughts on how cell phones
have changed the dynamic and psychology of how we wait. Thanks, Adam, Oh, totally, Adam.
I mean they've changed many things about our lives, and
this is one big part of them. I think for
people who have phones, there's probably much less boredom in
(06:15):
general in your life than there would have been, you
know before before people had mobile phones with access to
the internet, but that might be sort of compensated with
a proportional increase in the amount of anxiety. Yeah, you're
maybe doing less soul crushing, just just experiencing less soul
crushing boredom as you wait in line, But if you're
(06:36):
alleviating that by engaging in say soul crushing social media
use or um, I don't know. I mean some games
are good, but some games, cell phone games can feel
a little u um yeah, mind numbing and uh. And
certainly I think there's some there's some models of of
of mobile gaming out there that are perhaps not the
(06:57):
most honest in the way they go after you know
a lot of you know, hidden costs. And also you
might have mixed feelings about your engagement with that Rob.
I wonder what you think about his other thing about
how you're the weird one if you don't have your
phone out. I have absolutely felt this pressure before two.
I've felt pressure to do stuff on my phone in public,
(07:19):
not because I didn't want to be bored, but because
there's some kind of threat of awkwardness. There's kind of
a looming i don't know, uh, social threat from other
people that like they might perceive you as being creepy
or something if you're not keeping your eyes down on
your phone. It does that make any sense? Yeah? Yeah,
(07:40):
I mean when when phones come out, there is this
sense that whatever they're doing, they are engaged. They may
be engaged socially with somebody, you know, they may be
texting their significant other or something, or they're doing work
or you get they are working on something, even even
if they're playing a game. It's interesting how I think
for the rampant use of smartphones, if you were seen
(08:04):
playing a game Boy in public and you were you know,
perhaps not a child, there would be I don't know
if it would be you know, looked down upon, but
I think it would have a different energy, whereas today, yeah,
you just you pull your phone out. If there's some
level of social awkwardness, you pull out your phone. If
it's one thing I've noticed, I myself have done this
if I'm dining alone, um, which I never really had
(08:25):
a problem with before, I would, you know, occasionally I would.
I would do it, and I'd often like bring a book,
and and by bringing a book I felt like, well,
I have something to do if I get bored, but
also I have a purpose here, like this is my
my thing that I'm doing whilst I dine and um,
and pulling out a phone can have the same well,
it seems like it has the same level of like
social signaling. It's like I am not alone here, I
(08:48):
am fully engaged whilst eating by myself in this booth.
You just have the feeling that if you didn't have
your phone out and you weren't or a book or something.
You know, if you're just sitting there just kind of
looking or round and not doing anything in particular, you
wonder if other people are looking at you being like jeez,
what's that guy's deal? Yeah, no, it I mean, I
(09:10):
I think my use of of the smartphone it definitely
makes some weights a lot easier. I have like one
game in particular that I'll come back to that uh,
that that engages my mind and has a certain level
of strategy to it. Uh and uh and so I
pretty much only play it when I'm suddenly in a
situation where I'm waiting and I can't work on anything else,
(09:33):
you know. Uh. So I ultimately I would say, yes,
smartphones have been a great tool against the enemy of waiting.
Is it Monument Valley? No, it's It's actually a game
called Nurashima hex. It's a Polish and uh, post apocalyptic
like a little battle game, but it's um it's hex based.
It's grid Bay, you know, it's like a grid of
(09:53):
hexes and um there, each each army has a different strategy.
And yeah, I find it. I find it very engaging
when I play at a hole, you know suddenly right
in um which is interesting the youth. When we're talking
about waiting and video games, that will actually come into
play in the second episode of the Waiting series that
we're doing. All right, you want to do this next
(10:17):
message from Richard Sure. Richard writes, Hi, guys, really enjoyed
your last episode on queuing this week. It reminded me
of two things I have learned about queuing in the past.
I remember an interesting BBC article on a study by
a Danish researcher who found that actually the most efficient
way of queuing is actually last person to join a
(10:40):
cue gets served first. It encourages people to stagger their
arrival times at a queue as not to end up
too early, although I suspect it may not be very
practical in the real world. Here is a link to
the article. Include a link to the article. Also, I
am reminded of a holiday to Portugal a few years
back when I discovered that there is a law in
(11:00):
Portugal that dictates that if you have a baby or
small child, you were allowed to go to the front
of any queue there. Unfortunately I did not have any
kids with me at the time, But next time I
am in Portugal, I look forward to holding my baby
aloft and floating to the front of any queue. Thanks
for all the interesting shows, guys, Richard. Now it is
(11:21):
interesting how a young child can definitely get you to
the front of a line at times. I've encountered this
while traveling, especially when my son was was younger, and
and especially if he happened to get upset. There was
one time we were traveling with another couple that had
a child just a little bit younger, and they the
two of them had some sort of like spat and
then they both were crying, and we immediately got to
(11:43):
the front of the line. I think, I forget what
what airport we were at. It may have been, it
may have been in a different country too, so, but
I don't remember the details off hand. But but I
wonder if we get into different cultural ideas about the
about standing in line and at queuing, like, does the
crying infant automatically get you to the front of the
(12:04):
line or is that an unfair advantage? Well, I mean
it seems like that's sort of in everybody's interest, right,
because the nobody wants to be hanging around with the
crying children while they're waiting the whole time. But also, man,
that's set's a that sets up some bad incentives, right.
It teaches the children, you mean, you might train them
(12:24):
to to so that you can go to the front
of the line. Huh. Well, This reminds me we're talking
about this um before the podcast episode that the fabulous
actor Brad Dorriff can allegedly cry on cue for acting purposes.
I wonder if actors with that ability, if they does
it work even an adult is weeping uncontrollably or is
(12:45):
that more of a let's get this person out of
the line and and have somebody interview them type situation.
I don't know. Brad Doriff only waits in line in
character is grim a warm tongue. Okay. This next message
comes from Maya. Maya says, hi, guys, thanks for an
(13:06):
awesome podcast and so on about standing in line and
the amount of people behind you. I recently had the
very opposite experience. I think this is referring to in
the episode we talked about seeing people accumulate behind you
in line can be pleasurable, right because it's it produces
this feeling that like you have made progress, and and
also that the thing you want is in high demand. Yeah,
(13:29):
and in hand, It's been shown, at least in some studies,
to enhance the value of the thing you're waiting in
line for. Yeah, Maya goes on, I was waiting in
line to get my first vaccine dose long live science.
Knowing that there were just three hundred doses available that
day and to first come, first served scenario, I realized
that there were just about twenty people behind me in line,
(13:50):
because after that people were turned away due to capacity.
As I realized that, my gratitude and all the positive
feelings went through the roof. This is, of course, and
it total, but I do believe you didn't mention the
scenario of first come, first serve and finite resources. Again,
thank you and greetings from Sweden. Maya. Well, thanks Maya. Yeah,
this is an interesting point though this is complicated by
(14:13):
the fact of like seeing just twenty people in line
behind you, paired with the knowledge that at a certain
point they cut off new people getting in line because there,
you know, that's the maximum capacity they have to give away.
Uh that that like adds on another level, because there's
like you were imagining an invisible line farther beyond that
(14:33):
and you don't even know how far back that line goes.
And paired with the fact that like, uh that, at
least to you, like the value of the thing you're
getting is not really in question, Like you know that
being vaccinated is very valuable. It's not like a consumer
product where you're gonna get home and be like, do
I like this or not? I don't know what you
know that where you've got to make up your mind
about it. Speaking of of that valuable vaccine, if you
(14:56):
are able to get it, please go get your vaccine. Yes,
tie ing into Maya's comment about finite resources, like, if
the vaccine is available to you, you you are in
a very lucky position right now. Yes, please get it
(15:17):
all right. Here is another one. This one comes to
us from Rory Rory Rites. Hey, gentlemen, I've been listening
for years, first time riding, keep up the good work.
Upon listening to your first episode on waiting and queues,
you discussed it, but I instantly thought of traffic. It's
waiting in line. I think the reason that traffic came
to mind so quickly is my perspective as an avid
(15:37):
motorcycle rider, and as a motorcycle rider, I think all
writers will tell you we see traffic a little differently
than the typical car driver. Maybe it is because we
are out in the open with our feet on the ground,
but sometimes it really feels like being in line when
stuck in traffic. It made me think of the motorcyclist
equivalent to the fast pass lane filtering. I live in Texas,
(15:58):
where lane filtering is legal, but lane filtering is the
act of a motorcycle filtering through slow moving stop traffic
by going between cars and lanes, typically no faster than
ten to fifteen miles per hour uh that traffic. It
is legal in California, and I think recently was made
legal in Utah. Lane filtering is not to be confused
with the lane splitting, which is the dangerous behavior of
(16:21):
when the motorcyclist disregards law and safety by cutting through
traffic at high speeds with no regard for the speed
in relation to traffic. I hope for a day when
lane filtering is legal it improves traffic by basically removing
the motorcycles from the equation of traffic and safely pushes
them to the front. But you could see where this
could create a problem, not with the actual act of
(16:42):
riding slowly between cars through traffic or to the front
of a red stoplight, but more with the subsequent road
rate from people who feel like motorcyclists are jumping the
line quote unquote and not waiting their turn. That sense
of injustice might be too much for some to bear
and sadly lead to violence. From what I hear, California
has had the law in place long enough to where
(17:02):
it is proper driving adequate to let motorcycles pass in
peace and maybe even move over a little for them.
But I know that even if made legal in Texas,
the territorial nature of drivers here would put the lane
filter in danger from cars blocking paths or even people
opening their car doors to prevent lane filtering from happening,
at least until everyone understands that it is in everyone's
(17:24):
best interest to let motorcycles go through. Just a couple
of my thoughts. Anyway, you have provided some great listening
over the years and hope for more to come. Thanks Rory. Wow,
this makes driving in Texas sound dangerous. Um. Yeah, I
I mean I wish I I don't know, I wish
I knew more about motorcycle culture and uh, motorcycle laws
(17:44):
to really comment on all of this. I'm just taking, uh,
you know, Rory at their word here. Uh, But the
the argument they make it makes sense to me, both
the arguments for this lane filtering, but also some of
the potential complications you've if people were sort of engaging
in that that that car mentality of of you know,
(18:05):
me versus everyone else, something we talked about a bit
in last year's episode, uh, or maybe it was the
year before last. I can't I can't recall. We did
an episode one October about the what happens to our
consciousness in an automobile UM and we went into some
of this. I think, you know, this reminds me that
I think I saw a bit of discussion in the
stuff to Blow your Mind Facebook module UM about about
(18:29):
late merging. Remember we talked in the episode about how,
despite how awful it looks and you hate the person
who's merging late, technically it would be much better if
everybody used all the lanes available to them as long
as they could, and then you merge one at a
time going through the bottleneck. UM. This is sometimes called
the zipper method or or late merging. Their multiple studies
(18:52):
showing that this is better in in many ways. It's
more efficient. It's doesn't necessarily get the cars through faster,
but it decreases the length of the backup on the road,
and it is much safer to have the cars merging
slowly in a predictable way, one at a time at
the bottleneck instead of trying to get in wherever they can.
But people, we're still reacting negatively to the idea of
(19:13):
late merging, and I think a lot of that is
based on the idea that when we see people merging late,
they're often zooming ahead to do so. So there's a line,
you know, their cars lined up in one lane, and
then somebody's ripping past them, uh, down the rest of
the open lane to try to get in quickly. I
would still not recommend that behavior. I mean, what would
(19:33):
be ideal is if people use all the lanes available
to them as long as they can at a slow
speed and then take turns merging one by one. Yeah,
that definitely makes sense, uh and just also safer if
nobody's like speeding head at a crazy pace. Now. The
thing about zippering, though, is even when you end up
in a zippring situation, they're still room for um evil
(19:54):
behavior as as you know, someone who doesn't quite understand
how zippers work, perhaps they've never used to zipper, maybe
their buttoned person and they think that occasionally two to
three teeth can go together on one side that it
doesn't need to be one per one to make the
zipper work. That's how you break your zipper, buddy, that's
how you break your zipper. It breaks the zipper. It
breaks the zipper for everyone. Um. You know. It's it's
(20:17):
like someone at a four way stop who thinks that, well,
if one car is going through, I can just give.
If I'm close enough behind them, then I can just
go through. It will just be one car. That's that's
just fine, Rob. I think what you don't understand about
this person is they've got somewhere to be. Yes, yeah,
they've their shows are on. I realized they've they've got
to get home. I mean that's the thing. Everybody just
gets into too big of a hurry out there on
(20:39):
the road. Uh. They just need a need to chill,
chill a bit to take it take it down a notch,
you know. Okay. I think we should finish up with
a couple of messages about weird how cinema. This one
comes from Stacy and it's about Godzilla versus head Or.
Stacy says, hi eyes, I just watched Godzilla versus head
(21:02):
Or today with my husband, and one of the first
things he said, was Wow, that was some disgusting looking water,
and I lulled. I listened to the podcast and I
don't remember you mentioning the weird gestures that Godzilla and
Hetera were trading, most notably the hand swiping across the
mouth followed by the wild forward arm chop. Godzilla did
(21:25):
this move over and over again. We were cracking up.
Did you notice this? What's that all about? Good episode
and another great watch for me, can't wait for more, Stacy, Well,
thanks Stacy. Yes, I did notice all the gestures. I
thought we sort of mentioned it, but it might have
gone by very fast. We didn't dwell on it certainly,
but yes, there were like, um, I don't even know
(21:45):
how to describe them. I mean, it wasn't just like
the the shoulder shrug and the eye rolling from Godzilla bit,
yet he was doing all these uh like wrestling style gestures.
I would guess. Yeah, they were straight up I interpreted
them as signature talk, the kind of signature taunts that
you might use in a wrestling or fighting video game.
(22:06):
Uh so yeah, it's for me. It was like, just
clear what what Godsill was doing, Like he's saying, all right,
let's do this, let's throw down I and maybe that
maybe there's actual message there. You know, it's like I
will roast you with my breath. Come to me this claw,
this breath. Uh, you have an appointment with doom. Right,
It's like we're putting the hand to the ear and
(22:26):
being like I can't hear you or I don't know
what the rob, you know, wrestling, what are the what
are the main like gest your taunts. I mean they're
a whole slew of them, but you know, that's definitely
a big one. But but yeah, I think I think
God's all is at the top of his game here.
He's he's letting head to run. No that I've got
your number. Let's do this, let's fight, all right, Rob,
(22:52):
Do you want to do this one? About the oh
about the song? Yeah? Yeah, I was excited to receive
this one. Uh. This one comes to us from let's
say Jim, Yeah not Jim from New Jersey at different gym,
one of the other many other gyms. Hello Robert and Jim.
In the Weird House Cinema episode on Godzilla versus Hetera,
Rob mentioned that guy Henrick composed a song in English
(23:15):
to take the place of Return the Sun in the
Bond movie esque opener of the dubbed version. Um, and
again we we have not seen the dub version, so
I was just speculating here. Rob also guessed that the
song wouldn't retain the strong environmental message of the Japanese original.
I think you both might be excited to learn that
this reasonable assumption is actually wrong. The English song is
(23:35):
titled Save the Earth, and Adrian Russ apparently co wrote
the lyrics with Henrick. If anything, it's even more on
the nose, with its environmental message consisting in large part
of a chorus of save the Earth to the same
tune as Returned the Sun. I think it's quite fun
in its own right, and I enjoyed it when later
in the movie Godzilla and the smag Monster are locked
in battle to the music of Save the Earth. I
(23:58):
quite enjoyed this episode. I've been enjoying weird House cinema
generally and love this selection. Godzilla Versus is my favorite
Godzilla movie, though I've yet to see shin Godzilla, and
we'll check it out. Thanks for the fun and thoughtful commentary,
Best Jim. Definitely do check out Shin Godzilla, but for reference.
Jim attached a link to the lyrics of both versions
(24:19):
of the song rob I've pasted them side by side
for us to look at here. Oh yeah, yeah, I
can definitely see some of the fabulous different instead of saying,
like the translated version of the original starts with islands fish,
where have you gone this? But save the Earth goes animals,
God's animals don't go away, don't go so yes, it
kind of, it's kind comes out strong. So I'm I'm
(24:42):
I'm relieved to be corrected on this, just like looking
at a factory pouring smoke into the air and saying, hey,
those are God's animals. The direct translation of the Japanese
version certainly has way more listing of chemicals. Yeah yeah, no,
I mean some nacles make it into the English version.
But I also think it is interesting that they throw
(25:06):
God in their right at the beginning. They throw in
a monotheistic um Western deity right at the beginning of this.
Because I've I've read, and I'm not an expert on this,
but this is often a critique of of particular translations
and and dubbings of Miyazaki's work. Is that you take,
(25:27):
you know, religious or quasi religious models that are present
in the film, and then in translating them for Western audiences,
you take something that is maybe you know, more about
like communal spirits and nature more like more like Shinto inspired,
and then you make it more in line with a
monotheistic view of God in nature, which I don't know.
(25:49):
I guess that. You know, there's a huge argument to
be made there. It's in translation, right, like what or
how much are you trying to maintain the original how
much are you trying to to literally translate it into
a different worldview for a totally different audience. I don't know,
And it did different arguments on both sides. I'm sure.
What's the deal with when we're moving we're moving moving
too the moon? Now? I don't think that's in the
(26:10):
original song we're moving, We're moving I don't know into
the moon. There was no moving to the moon that
I remember in that one. But unless it's kind of
a commentary on why aren't we focusing on the moon,
we need to focus on Earth, you know, like sort
of a space space program critique or something, Oh yeah,
that would make sense. Well, the Guy Hemrick version does
have the beautiful couplet and the solution stop the pollution.
(26:33):
Now that's inspired. That's that's right. Yeah, that rhymes, and
you know it rhymes. Alright. We we're gonna go ahead
and wrap up this edition of Stuff to Blow your
Mind listener mail, but certainly keep them coming. We have
more stuff that we didn't get to today that we'll
we'll try and incorporate in future installments. But you know,
keep keep writing in about current episodes, past episodes, upcoming episodes,
(26:56):
stuff to blow your mind, core episodes, as well as
our artifacts, uh, as well as Weird How Cinema. We
love all of your input and uh, you know, with
with Weird How Cinema, it's also nice to know, like
which which movie selections are are really landing with people
the best, uh, you know, because you can partially inform
where we go from here, you know totally. I mean,
we're gonna keep occasionally choosing films that most people have
(27:18):
not seen or heard of. But but but you know,
I feel like we we were trying to to to
to keep a mix of things where yeah, there're gonna
be some films that are easy to get or are
more well known, versus films that are maybe a little
more obscure and difficult to get a copy of. In
the meantime, if you want to catch up on your episodes,
you can find Stuff to Blow your Mind and the
(27:39):
Stuff to Blow your Mind podcast feed wherever you get
your podcasts normally, if we're not disrupting things, a bet
you're gonna find your core episodes on two season Thursday.
You're gonna find Artifact on Wednesday, listener mail on Monday,
and Weird How Cinema on Friday. A little we run
on the weekend for you as well. Huge things As
always to our excellent audio producer Seth Nicholas Johnson. If
you would like to get in touch with us with
(27:59):
feedback on this episode or any other, to suggest topic
for the future, or just to say hi, you can
email us at contact at stuff to Blow your Mind
dot com. Stuff to Blow Your Mind is a production
of I Heart Radio. For more podcasts for my Heart Radio,
(28:19):
visit the I Heart Radio app, Apple Podcasts, or wherever
you listen to your favorite shows.
Welcome to Stuff to Blow Your Mind, a production of
My Heart Radio. Hey, welcome to Stuff to Blow your
Mind Listener Mail. My name is Robert Lamb and I'm
Joe McCormick. And if you haven't noticed, there's a bit
of a scheduling reversal this week. That's just one of
the things that happens every now and then these these days.
(00:23):
So I think this is the listener Mail episode that
would normally go in the Monday slot. You're going to
be hearing it on a Tuesday. But but we'll be
back with our regular core episodes on Wednesday and Thursday
of this week. Okay, housekeeping done, Robert, You ready to
jump into the mail bag, Let's do it. Okay, maybe
(00:46):
I should start with this message from Eric about the
artifact on the sugar light. Eric says, good morning, gentlemen.
Here I am to bug you again. Eric, I can't
remember what you bugged us about in the past, but
I'll take your word for it. Eric says, why in movies, cartoons, anime, etcetera,
our radiation and nuclear reactors always portrayed as having a
(01:08):
green glow. Cherenkov radiation typically produces a blue glow. Eric
and that's the whole question. I think this is really
good because when you see, uh see like a radioactive
waste or stuff of the nuclear plan on the Simpsons,
it's always green, right, But if you actually look at
the glow emanating from say the water, the cooling water
around a nuclear reactor, there is a glow, but it
(01:31):
is blue. It's that blue Cherenkov light. But I do
think I have a good guess about where the green
glow thing comes from. And this actually I think briefly
came up in our episodes about halo imagery, unless I'm mistaken,
but but this is my best guess. I think it
is probably based on the history of radio luminescent paint.
(01:52):
Uh So, in the early twentieth century you had these
famous paints like un Dark was the trade name of
one of them, but there were a number of radio
minescent paints. Undark was made by the US Radium Corporation,
and radioluminescent paint had to have a few ingredients to work.
One was a radioactive element, typically radium, and then there
would also be a chemical in the paint called a phosphour,
(02:14):
which means a chemical that glows in the presence of radiation,
so the radium irradiates the phosphour and then the phosphour
emits light in response. And I think specifically in the
undark paint, they use zinc sulfide as the phosphour along
with a bit of copper content, which I believe helped
give the light a green color. So I'm not sure,
(02:36):
but my best guess is that popular consciousness of green
glowing radium paint turned into a natural association between ionizing
radiation and the color green. M though I can't help
but wonder if another, at least small factor in this
is the the idea and some cultures, particularly some European cultures,
(02:57):
that green was the color of of like the fairy
folk of people from beyond. If you know, a potent, supernatural,
otherworldly uh color to have about your person. Oh yeah yeah.
Going way back to our episode about Jenny green teeth,
it reminds me of that old like superstition we read
about it. There there was some like catalog of folk
(03:17):
tales from old from the British Isles, and one of
them was about a like a mother in law telling
the daughter in law never to wear a green dress
because it would draw the ire of the fairies, and
I have to say, even today, and if you were
to see somebody wearing all bright green walking down the street,
I mean it would. It would catch your attention. You
might you might wonder what was going on there. You
(03:37):
might wonder if you're about to get pinched. Yeah, all right,
here's another one. This one comes to us from d
Hi there. I was both horrified and amused to realize
whilst listening to your recent podcast The Waiting, but no
mention was made of England smiley face. Instead, we were
(03:59):
subjected to a hole one minute and twenty two seconds
of waiting in line during the French Revolution shutters smiley
face here in Blighty, which I am told means England queuing,
as it is properly called, is rightly considered a national pastime.
As George Mike's rightly observed quote in Englishman, even if
he is alone, forms an orderly queue of one joking aside,
(04:23):
I have direct experience on this alone at a bus
stop or at the bank, I'll unconsciously orient myself as
if I'm the first in an imperceptible que You can't
possibly complete two episodes on waiting without recourse to mentioning
the religious fervor with which queuing is regarded and beaten
into children from a young age in England. I trust
(04:44):
and expect that this honest oversight is corrected in your
second episode. You're devoted fan from England, d D. I
guess we couldn't read them out loud, but this email
has a higher than average quotient of like asky, winking,
smiley faces and stuff. So I'm assuming you're out as
mad as you claim. Uh. I think he backed this
up with a couple of subsequent emails. But but D
(05:06):
fear not. We shall be covering English queuing in Queuing
Part two. Already have a bunch of stuff about it
in the document for when we record that episode, alright.
This next message comes from Adam. Adam says hello, I
love this episode again referring to queuing, and it made
(05:29):
me think of a bit. In Mark Marrin's most recent
stand up special, in Times Fun, he talks specifically about
how it used to feel to wait in line without
a phone. He describes the emptiness and boredom of eating
a sandwich alone on your lunch break, or just waiting
to take another step forward in line while peeking over
to the side to see what's going on up ahead.
(05:50):
There's a similar compulsion in an elevator, and it feels
like you're the weird one if you don't have your
phone out. Just wondering your thoughts on how cell phones
have changed the dynamic and psychology of how we wait. Thanks, Adam, Oh, totally, Adam.
I mean they've changed many things about our lives, and
this is one big part of them. I think for
people who have phones, there's probably much less boredom in
(06:15):
general in your life than there would have been, you
know before before people had mobile phones with access to
the internet, but that might be sort of compensated with
a proportional increase in the amount of anxiety. Yeah, you're
maybe doing less soul crushing, just just experiencing less soul
crushing boredom as you wait in line, But if you're
(06:36):
alleviating that by engaging in say soul crushing social media
use or um, I don't know. I mean some games
are good, but some games, cell phone games can feel
a little u um yeah, mind numbing and uh. And
certainly I think there's some there's some models of of
of mobile gaming out there that are perhaps not the
(06:57):
most honest in the way they go after you know
a lot of you know, hidden costs. And also you
might have mixed feelings about your engagement with that Rob.
I wonder what you think about his other thing about
how you're the weird one if you don't have your
phone out. I have absolutely felt this pressure before two.
I've felt pressure to do stuff on my phone in public,
(07:19):
not because I didn't want to be bored, but because
there's some kind of threat of awkwardness. There's kind of
a looming i don't know, uh, social threat from other
people that like they might perceive you as being creepy
or something if you're not keeping your eyes down on
your phone. It does that make any sense? Yeah? Yeah,
(07:40):
I mean when when phones come out, there is this
sense that whatever they're doing, they are engaged. They may
be engaged socially with somebody, you know, they may be
texting their significant other or something, or they're doing work
or you get they are working on something, even even
if they're playing a game. It's interesting how I think
for the rampant use of smartphones, if you were seen
(08:04):
playing a game Boy in public and you were you know,
perhaps not a child, there would be I don't know
if it would be you know, looked down upon, but
I think it would have a different energy, whereas today, yeah,
you just you pull your phone out. If there's some
level of social awkwardness, you pull out your phone. If
it's one thing I've noticed, I myself have done this
if I'm dining alone, um, which I never really had
(08:25):
a problem with before, I would, you know, occasionally I would.
I would do it, and I'd often like bring a book,
and and by bringing a book I felt like, well,
I have something to do if I get bored, but
also I have a purpose here, like this is my
my thing that I'm doing whilst I dine and um,
and pulling out a phone can have the same well,
it seems like it has the same level of like
social signaling. It's like I am not alone here, I
(08:48):
am fully engaged whilst eating by myself in this booth.
You just have the feeling that if you didn't have
your phone out and you weren't or a book or something.
You know, if you're just sitting there just kind of
looking or round and not doing anything in particular, you
wonder if other people are looking at you being like jeez,
what's that guy's deal? Yeah, no, it I mean, I
(09:10):
I think my use of of the smartphone it definitely
makes some weights a lot easier. I have like one
game in particular that I'll come back to that uh,
that that engages my mind and has a certain level
of strategy to it. Uh and uh and so I
pretty much only play it when I'm suddenly in a
situation where I'm waiting and I can't work on anything else,
(09:33):
you know. Uh. So I ultimately I would say, yes,
smartphones have been a great tool against the enemy of waiting.
Is it Monument Valley? No, it's It's actually a game
called Nurashima hex. It's a Polish and uh, post apocalyptic
like a little battle game, but it's um it's hex based.
It's grid Bay, you know, it's like a grid of
(09:53):
hexes and um there, each each army has a different strategy.
And yeah, I find it. I find it very engaging
when I play at a hole, you know suddenly right
in um which is interesting the youth. When we're talking
about waiting and video games, that will actually come into
play in the second episode of the Waiting series that
we're doing. All right, you want to do this next
(10:17):
message from Richard Sure. Richard writes, Hi, guys, really enjoyed
your last episode on queuing this week. It reminded me
of two things I have learned about queuing in the past.
I remember an interesting BBC article on a study by
a Danish researcher who found that actually the most efficient
way of queuing is actually last person to join a
(10:40):
cue gets served first. It encourages people to stagger their
arrival times at a queue as not to end up
too early, although I suspect it may not be very
practical in the real world. Here is a link to
the article. Include a link to the article. Also, I
am reminded of a holiday to Portugal a few years
back when I discovered that there is a law in
(11:00):
Portugal that dictates that if you have a baby or
small child, you were allowed to go to the front
of any queue there. Unfortunately I did not have any
kids with me at the time, But next time I
am in Portugal, I look forward to holding my baby
aloft and floating to the front of any queue. Thanks
for all the interesting shows, guys, Richard. Now it is
(11:21):
interesting how a young child can definitely get you to
the front of a line at times. I've encountered this
while traveling, especially when my son was was younger, and
and especially if he happened to get upset. There was
one time we were traveling with another couple that had
a child just a little bit younger, and they the
two of them had some sort of like spat and
then they both were crying, and we immediately got to
(11:43):
the front of the line. I think, I forget what
what airport we were at. It may have been, it
may have been in a different country too, so, but
I don't remember the details off hand. But but I
wonder if we get into different cultural ideas about the
about standing in line and at queuing, like, does the
crying infant automatically get you to the front of the
(12:04):
line or is that an unfair advantage? Well, I mean
it seems like that's sort of in everybody's interest, right,
because the nobody wants to be hanging around with the
crying children while they're waiting the whole time. But also, man,
that's set's a that sets up some bad incentives, right.
It teaches the children, you mean, you might train them
(12:24):
to to so that you can go to the front
of the line. Huh. Well, This reminds me we're talking
about this um before the podcast episode that the fabulous
actor Brad Dorriff can allegedly cry on cue for acting purposes.
I wonder if actors with that ability, if they does
it work even an adult is weeping uncontrollably or is
(12:45):
that more of a let's get this person out of
the line and and have somebody interview them type situation.
I don't know. Brad Doriff only waits in line in
character is grim a warm tongue. Okay. This next message
comes from Maya. Maya says, hi, guys, thanks for an
(13:06):
awesome podcast and so on about standing in line and
the amount of people behind you. I recently had the
very opposite experience. I think this is referring to in
the episode we talked about seeing people accumulate behind you
in line can be pleasurable, right because it's it produces
this feeling that like you have made progress, and and
also that the thing you want is in high demand. Yeah,
(13:29):
and in hand, It's been shown, at least in some studies,
to enhance the value of the thing you're waiting in
line for. Yeah, Maya goes on, I was waiting in
line to get my first vaccine dose long live science.
Knowing that there were just three hundred doses available that
day and to first come, first served scenario, I realized
that there were just about twenty people behind me in line,
(13:50):
because after that people were turned away due to capacity.
As I realized that, my gratitude and all the positive
feelings went through the roof. This is, of course, and
it total, but I do believe you didn't mention the
scenario of first come, first serve and finite resources. Again,
thank you and greetings from Sweden. Maya. Well, thanks Maya. Yeah,
this is an interesting point though this is complicated by
(14:13):
the fact of like seeing just twenty people in line
behind you, paired with the knowledge that at a certain
point they cut off new people getting in line because there,
you know, that's the maximum capacity they have to give away.
Uh that that like adds on another level, because there's
like you were imagining an invisible line farther beyond that
(14:33):
and you don't even know how far back that line goes.
And paired with the fact that like, uh that, at
least to you, like the value of the thing you're
getting is not really in question, Like you know that
being vaccinated is very valuable. It's not like a consumer
product where you're gonna get home and be like, do
I like this or not? I don't know what you
know that where you've got to make up your mind
about it. Speaking of of that valuable vaccine, if you
(14:56):
are able to get it, please go get your vaccine. Yes,
tie ing into Maya's comment about finite resources, like, if
the vaccine is available to you, you you are in
a very lucky position right now. Yes, please get it
(15:17):
all right. Here is another one. This one comes to
us from Rory Rory Rites. Hey, gentlemen, I've been listening
for years, first time riding, keep up the good work.
Upon listening to your first episode on waiting and queues,
you discussed it, but I instantly thought of traffic. It's
waiting in line. I think the reason that traffic came
to mind so quickly is my perspective as an avid
(15:37):
motorcycle rider, and as a motorcycle rider, I think all
writers will tell you we see traffic a little differently
than the typical car driver. Maybe it is because we
are out in the open with our feet on the ground,
but sometimes it really feels like being in line when
stuck in traffic. It made me think of the motorcyclist
equivalent to the fast pass lane filtering. I live in Texas,
(15:58):
where lane filtering is legal, but lane filtering is the
act of a motorcycle filtering through slow moving stop traffic
by going between cars and lanes, typically no faster than
ten to fifteen miles per hour uh that traffic. It
is legal in California, and I think recently was made
legal in Utah. Lane filtering is not to be confused
with the lane splitting, which is the dangerous behavior of
(16:21):
when the motorcyclist disregards law and safety by cutting through
traffic at high speeds with no regard for the speed
in relation to traffic. I hope for a day when
lane filtering is legal it improves traffic by basically removing
the motorcycles from the equation of traffic and safely pushes
them to the front. But you could see where this
could create a problem, not with the actual act of
(16:42):
riding slowly between cars through traffic or to the front
of a red stoplight, but more with the subsequent road
rate from people who feel like motorcyclists are jumping the
line quote unquote and not waiting their turn. That sense
of injustice might be too much for some to bear
and sadly lead to violence. From what I hear, California
has had the law in place long enough to where
(17:02):
it is proper driving adequate to let motorcycles pass in
peace and maybe even move over a little for them.
But I know that even if made legal in Texas,
the territorial nature of drivers here would put the lane
filter in danger from cars blocking paths or even people
opening their car doors to prevent lane filtering from happening,
at least until everyone understands that it is in everyone's
(17:24):
best interest to let motorcycles go through. Just a couple
of my thoughts. Anyway, you have provided some great listening
over the years and hope for more to come. Thanks Rory. Wow,
this makes driving in Texas sound dangerous. Um. Yeah, I
I mean I wish I I don't know, I wish
I knew more about motorcycle culture and uh, motorcycle laws
(17:44):
to really comment on all of this. I'm just taking, uh,
you know, Rory at their word here. Uh, But the
the argument they make it makes sense to me, both
the arguments for this lane filtering, but also some of
the potential complications you've if people were sort of engaging
in that that that car mentality of of you know,
(18:05):
me versus everyone else, something we talked about a bit
in last year's episode, uh, or maybe it was the
year before last. I can't I can't recall. We did
an episode one October about the what happens to our
consciousness in an automobile UM and we went into some
of this. I think, you know, this reminds me that
I think I saw a bit of discussion in the
stuff to Blow your Mind Facebook module UM about about
(18:29):
late merging. Remember we talked in the episode about how,
despite how awful it looks and you hate the person
who's merging late, technically it would be much better if
everybody used all the lanes available to them as long
as they could, and then you merge one at a
time going through the bottleneck. UM. This is sometimes called
the zipper method or or late merging. Their multiple studies
(18:52):
showing that this is better in in many ways. It's
more efficient. It's doesn't necessarily get the cars through faster,
but it decreases the length of the backup on the road,
and it is much safer to have the cars merging
slowly in a predictable way, one at a time at
the bottleneck instead of trying to get in wherever they can.
But people, we're still reacting negatively to the idea of
(19:13):
late merging, and I think a lot of that is
based on the idea that when we see people merging late,
they're often zooming ahead to do so. So there's a line,
you know, their cars lined up in one lane, and
then somebody's ripping past them, uh, down the rest of
the open lane to try to get in quickly. I
would still not recommend that behavior. I mean, what would
(19:33):
be ideal is if people use all the lanes available
to them as long as they can at a slow
speed and then take turns merging one by one. Yeah,
that definitely makes sense, uh and just also safer if
nobody's like speeding head at a crazy pace. Now. The
thing about zippering, though, is even when you end up
in a zippring situation, they're still room for um evil
(19:54):
behavior as as you know, someone who doesn't quite understand
how zippers work, perhaps they've never used to zipper, maybe
their buttoned person and they think that occasionally two to
three teeth can go together on one side that it
doesn't need to be one per one to make the
zipper work. That's how you break your zipper, buddy, that's
how you break your zipper. It breaks the zipper. It
breaks the zipper for everyone. Um. You know. It's it's
(20:17):
like someone at a four way stop who thinks that, well,
if one car is going through, I can just give.
If I'm close enough behind them, then I can just
go through. It will just be one car. That's that's
just fine, Rob. I think what you don't understand about
this person is they've got somewhere to be. Yes, yeah,
they've their shows are on. I realized they've they've got
to get home. I mean that's the thing. Everybody just
gets into too big of a hurry out there on
(20:39):
the road. Uh. They just need a need to chill,
chill a bit to take it take it down a notch,
you know. Okay. I think we should finish up with
a couple of messages about weird how cinema. This one
comes from Stacy and it's about Godzilla versus head Or.
Stacy says, hi eyes, I just watched Godzilla versus head
(21:02):
Or today with my husband, and one of the first
things he said, was Wow, that was some disgusting looking water,
and I lulled. I listened to the podcast and I
don't remember you mentioning the weird gestures that Godzilla and
Hetera were trading, most notably the hand swiping across the
mouth followed by the wild forward arm chop. Godzilla did
(21:25):
this move over and over again. We were cracking up.
Did you notice this? What's that all about? Good episode
and another great watch for me, can't wait for more, Stacy, Well,
thanks Stacy. Yes, I did notice all the gestures. I
thought we sort of mentioned it, but it might have
gone by very fast. We didn't dwell on it certainly,
but yes, there were like, um, I don't even know
(21:45):
how to describe them. I mean, it wasn't just like
the the shoulder shrug and the eye rolling from Godzilla bit,
yet he was doing all these uh like wrestling style gestures.
I would guess. Yeah, they were straight up I interpreted
them as signature talk, the kind of signature taunts that
you might use in a wrestling or fighting video game.
(22:06):
Uh so yeah, it's for me. It was like, just
clear what what Godsill was doing, Like he's saying, all right,
let's do this, let's throw down I and maybe that
maybe there's actual message there. You know, it's like I
will roast you with my breath. Come to me this claw,
this breath. Uh, you have an appointment with doom. Right,
It's like we're putting the hand to the ear and
(22:26):
being like I can't hear you or I don't know
what the rob, you know, wrestling, what are the what
are the main like gest your taunts. I mean they're
a whole slew of them, but you know, that's definitely
a big one. But but yeah, I think I think
God's all is at the top of his game here.
He's he's letting head to run. No that I've got
your number. Let's do this, let's fight, all right, Rob,
(22:52):
Do you want to do this one? About the oh
about the song? Yeah? Yeah, I was excited to receive
this one. Uh. This one comes to us from let's
say Jim, Yeah not Jim from New Jersey at different gym,
one of the other many other gyms. Hello Robert and Jim.
In the Weird House Cinema episode on Godzilla versus Hetera,
Rob mentioned that guy Henrick composed a song in English
(23:15):
to take the place of Return the Sun in the
Bond movie esque opener of the dubbed version. Um, and
again we we have not seen the dub version, so
I was just speculating here. Rob also guessed that the
song wouldn't retain the strong environmental message of the Japanese original.
I think you both might be excited to learn that
this reasonable assumption is actually wrong. The English song is
(23:35):
titled Save the Earth, and Adrian Russ apparently co wrote
the lyrics with Henrick. If anything, it's even more on
the nose, with its environmental message consisting in large part
of a chorus of save the Earth to the same
tune as Returned the Sun. I think it's quite fun
in its own right, and I enjoyed it when later
in the movie Godzilla and the smag Monster are locked
in battle to the music of Save the Earth. I
(23:58):
quite enjoyed this episode. I've been enjoying weird House cinema
generally and love this selection. Godzilla Versus is my favorite
Godzilla movie, though I've yet to see shin Godzilla, and
we'll check it out. Thanks for the fun and thoughtful commentary,
Best Jim. Definitely do check out Shin Godzilla, but for reference.
Jim attached a link to the lyrics of both versions
(24:19):
of the song rob I've pasted them side by side
for us to look at here. Oh yeah, yeah, I
can definitely see some of the fabulous different instead of saying,
like the translated version of the original starts with islands fish,
where have you gone this? But save the Earth goes animals,
God's animals don't go away, don't go so yes, it
kind of, it's kind comes out strong. So I'm I'm
(24:42):
I'm relieved to be corrected on this, just like looking
at a factory pouring smoke into the air and saying, hey,
those are God's animals. The direct translation of the Japanese
version certainly has way more listing of chemicals. Yeah yeah, no,
I mean some nacles make it into the English version.
But I also think it is interesting that they throw
(25:06):
God in their right at the beginning. They throw in
a monotheistic um Western deity right at the beginning of this.
Because I've I've read, and I'm not an expert on this,
but this is often a critique of of particular translations
and and dubbings of Miyazaki's work. Is that you take,
(25:27):
you know, religious or quasi religious models that are present
in the film, and then in translating them for Western audiences,
you take something that is maybe you know, more about
like communal spirits and nature more like more like Shinto inspired,
and then you make it more in line with a
monotheistic view of God in nature, which I don't know.
(25:49):
I guess that. You know, there's a huge argument to
be made there. It's in translation, right, like what or
how much are you trying to maintain the original how
much are you trying to to literally translate it into
a different worldview for a totally different audience. I don't know,
And it did different arguments on both sides. I'm sure.
What's the deal with when we're moving we're moving moving
too the moon? Now? I don't think that's in the
(26:10):
original song we're moving, We're moving I don't know into
the moon. There was no moving to the moon that
I remember in that one. But unless it's kind of
a commentary on why aren't we focusing on the moon,
we need to focus on Earth, you know, like sort
of a space space program critique or something, Oh yeah,
that would make sense. Well, the Guy Hemrick version does
have the beautiful couplet and the solution stop the pollution.
(26:33):
Now that's inspired. That's that's right. Yeah, that rhymes, and
you know it rhymes. Alright. We we're gonna go ahead
and wrap up this edition of Stuff to Blow your
Mind listener mail, but certainly keep them coming. We have
more stuff that we didn't get to today that we'll
we'll try and incorporate in future installments. But you know,
keep keep writing in about current episodes, past episodes, upcoming episodes,
(26:56):
stuff to blow your mind, core episodes, as well as
our artifacts, uh, as well as Weird How Cinema. We
love all of your input and uh, you know, with
with Weird How Cinema, it's also nice to know, like
which which movie selections are are really landing with people
the best, uh, you know, because you can partially inform
where we go from here, you know totally. I mean,
we're gonna keep occasionally choosing films that most people have
(27:18):
not seen or heard of. But but but you know,
I feel like we we were trying to to to
to keep a mix of things where yeah, there're gonna
be some films that are easy to get or are
more well known, versus films that are maybe a little
more obscure and difficult to get a copy of. In
the meantime, if you want to catch up on your episodes,
you can find Stuff to Blow your Mind and the
(27:39):
Stuff to Blow your Mind podcast feed wherever you get
your podcasts normally, if we're not disrupting things, a bet
you're gonna find your core episodes on two season Thursday.
You're gonna find Artifact on Wednesday, listener mail on Monday,
and Weird How Cinema on Friday. A little we run
on the weekend for you as well. Huge things As
always to our excellent audio producer Seth Nicholas Johnson. If
you would like to get in touch with us with
(27:59):
feedback on this episode or any other, to suggest topic
for the future, or just to say hi, you can
email us at contact at stuff to Blow your Mind
dot com. Stuff to Blow Your Mind is a production
of I Heart Radio. For more podcasts for my Heart Radio,
(28:19):
visit the I Heart Radio app, Apple Podcasts, or wherever
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If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
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Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.